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Leonard Freed's Black in White America City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 12-21-2016 Leonard Freed's Black in White America Jennifer Cherry Wilkinson CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/108 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Leonard Freed’s Black in White America By Jennifer Cherry Wilkinson Submitted in partial fulfillment of the requirements for the degree of Master of Arts Hunter College of the City of New York 2016 Thesis sponsor: December 21, 2016 Maria Antonella Pelizzari Date Signature December 21, 2016 Katherine Manthorne Date Signature of Second Reader © 2016 Jennifer Cherry Wilkinson All Rights Reserved For my parents, Alexander “Sandy” and Louise Cherry Wilkinson TABLE OF CONTENTS Acknowledgements ii List of Illustrations iv Introduction 1 Chapter 1 Picturing Black Lives in the Civil Rights Era 12 Chapter 2 American Photo Narratives and the Black Image 26 Chapter 3 Leonard Freed’s Black in White America 56 Conclusion 77 Bibliography 87 Illustrations 93 i Acknowledgements First, I would like to underscore that following thesis is a direct result of a course supported by the Andrew W. Mellon Foundation’s grant to the Art History department at the City University of New York’s Graduate Center, which made research at the Magnum Archives in New York and New Jersey possible for a small group of students in the fall of 2015. Led by Professor Maria Antonella Pelizzari, along with International Center of Photography curator Kristen Lubben and photographer Susan Miselas, this course focused on the photo essay: what constitutes it and how it appeared in various historical contexts, as well as the theoretical issues of authorship, language, and representation that are essential to its interpretation. Without the offsite visits this course provided, my fellow classmates and I would have never had the opportunity to learn hands-on about how a story is created, do original archival research, or discuss the form of the photo essay with renowned critics and celebrated photographers. While the class was my introduction to Leonard Freed’s work and Black in White America, it was thanks to Magnum’s own Matt Murphy that I was introduced to the photographer’s widow, Brigitte Freed. Brigitte generously hosted me at her home twice while I was writing, opening Leonard’s archives to me, answering any questions I had, and sharing with me over many hours (and delicious meals) the history of her and Leonard’s life during the 1960s. The access I was granted was a scholar’s dream, however I would have been much less successful in navigating the archives and other historical materials essential to my research had I not been able to speak with Paul Farber about my project. Brigitte, Paul: I thank you both very much for your bountiful assistance. ii I would also like to thank my supervisor at the James Gallery, curator Katherine Carl, for supporting my enrollment in the aforementioned class and all of the previous courses that I took toawrds my Master’s degree in Art History—I realize what a gift this was and am truly grateful for it. I have been very fortunate to work at the Graduate Center while also being enrolled as a student at Hunter, and would like to offer my thanks to my colleagues at the GC and particularly to the students I have learned from in my seminars there: your sparkling intellects and rigorous politics have inspired me greatly. I am also grateful to Professor Katherine Manthorne for her thoughtful feedback on the following thesis—it is no doubt stronger because of her suggestions. That said, one person at CUNY has been essential to my scholarly pursuits: Maria Antonella Pelizzari. From the integration of original photographic materials and diverse scholarly perspectives into the classroom, to the creation of opportunities for her classes to learn together in a variety of contexts, she has been a superb teacher, unflagging in her enthusiasm for photography scholarship and support of her students, including me. I am very grateful to have had the opportunity to learn from her at every step of the process that resulted in this thesis, from discussing contact sheets in her office to exchanging drafts online on more than one late night. Thank you, Professor—you have impacted my scholarship and thinking tremendously. I would also like to offer a word of gratitude to the great gaggle of creative people I am lucky enough to call my friends: you have not only supported me in all the essential ways, but have also provided fresh perspectives when I needed them most. Lastly, I would like to thank my father for his meticulous editorial assistance and for sharing his personal experience of the Civil Rights Movement with me. While this project was catalyzed by that history and the contemporary moment in American politics, I hope it will be useful to future readers and scholars. iii List of Illustrations Figure 1 Leonard Freed, Black in White America. Los Angeles: J. Paul Getty Museum, 2010, Cover. © Leonard Freed / Magnum Photos Figure 2 Leonard Freed, Contact sheet, number 63-3-1. Accessed in the Magnum Photos Archive, New York, 2015. © Leonard Freed / Magnum Photos Figure 3 Leonard Freed, Black in White America. New York: Grossman, 1967, Cover. © Leonard Freed Figure 4 Leonard Freed, Black in White America. New York: Grossman, 1967, Title page. © Leonard Freed Figure 5 Leonard Freed, Black in White America. Los Angeles: J. Paul Getty Museum, 2010, p. 48-9. © Leonard Freed / Magnum Photos Figure 6 David Jackson, Photographs of Emmett Till’s body, Jet magazine, September 15, 1955. Figure 7 Richard Avedon and James Baldwin, “William Casby, born in slavery / Adlai Stevenson, Representative of the United states to the United Nations,” in Nothing personal. New York: Atheneum Publishers, 1964. © The Richard Avedon Foundation Figure 8 Leonard Freed, Uncaptioned spread from Cornell Capa, The Concerned Photographer. Grossman Publishers: New York, 1968. © Leonard Freed / Magnum Photos Figure 9 Charles Harbutt, “Brooklyn, New York” and “Cleveland, Ohio” in America in Crisis. New York: Holt, Rinehart, and Winston, 1969, p. 58-9. © Charles Harbutt / Magnum Photos Figure 10 One unpaginated spread illustrating pages 19-22 in Walker Evans, American Photographs, 1938. American Photographs - Books on Books 2. New York: Errata Editions, 2008. © Walker Evans / Errata Editions Figure 11 Walker Evans, “Roadside Stand Near Birmingham,” 1936, in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 12 Leonard Freed, Black in White America. Los Angeles: J. Paul Getty Museum, 2010, p. 44. © Leonard Freed / Magnum Photos Figure 13 Walker Evans, “42nd St. 1929,” in American Photographs. New York: Museum iv of Modern Art, 1938. © Walker Evans Figure 14 Walker Evans, “Citizen in Downtown Havana, 1932,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 15 Walker Evans, “Minstrel Showbill, 1936,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 16 Walker Evans, “Minstrel Showbill, 1936,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 17 Walker Evans, “Sidewalk in Vicksburg, Pennsylvania, 1936,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 18 Walker Evans, “Arkansas Flood Refugee, 1937,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 19 Walker Evans, “Louisiana Plantation House, 1935,” in American Photographs. New York: Museum of Modern Art, 1938. © Walker Evans Figure 20 Cover of Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Simon and Schuster, 1955. © Roy DeCarava / Langston Huges / Simon and Schuster Figure 21 Representative portrait from Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Hill and Wang, 1967, p. 66. © Roy DeCarava / Langston Hughes / Hill and Wang / Farrar, Straus and Giroux Figure 22 Representative portrait from Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Hill and Wang, 1967, p. 89. © Roy DeCarava / Langston Hughes / Hill and Wang / Farrar, Straus and Giroux Figure 23 Representative spread from Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Hill and Wang, 1967, p. 46-7. © Roy DeCarava / Langston Hughes / Hill and Wang / Farrar, Straus and Giroux Figure 24 Representative spread from Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Hill and Wang, 1967, p. 58-9. © Roy DeCarava / Langston Hughes / Hill and Wang / Farrar, Straus and Giroux Figure 25 Leonard Freed, Black in White America. Los Angeles: J. Paul Getty Museum, 2010, p. 13-4. © Leonard Freed / Magnum Photos v Figure 26 Leonard Freed, Black in White America. Los Angeles: J. Paul Getty Museum, 2010, p. 68-9. © Leonard Freed / Magnum Photos Figure 27 Langston Hughes and Roy DeCavara’s The Sweet Flypaper of Life. New York: Hill and Wang, 1967, p. 28. © Roy DeCarava / Langston Huges / Hill and Wang / Farrar, Straus and Giroux Figure 28 Representative portrait from Hughes and DeCavara’s The Sweet Flypaper of Life, 1955, p. 40. © Roy DeCarava / Langston Huges / Hill and Wang / Farrar, Straus and Giroux Figure 29 Representative portrait from Hughes and DeCavara’s The Sweet Flypaper of Life, 1955, p. 20. © Roy DeCarava / Langston Huges / Hill and Wang / Farrar, Straus and Giroux Figure 30 Gordon Parks and Robert Wallace, “The Restraints: Open and Hidden – Part IV, Background of Segregation” in Life Magazine, September 24, 1956, p. 98-9. © Gordon Parks Foundation Figure 31 Gordon Parks and Robert Wallace, “The Restraints: Open and Hidden – Part IV, Background of Segregation,” p.
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